



p^ 



F>RIOE 15 OJENTS 




Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is" a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written, Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NEW^ HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Red, White, and 
Blue Drill 



By 
MARGUERITE W. MORTON 

Author of ' 'Ideal Drills ' ' 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1919 



Copyright 19 19 by The Penn Publishing Company 



The Red, White, and Blue Drill 



A 5 3 2 8 9 



The Red, White, and Blue 
Drill 



COSTUMES, ETC. 

This drill is for twelve girls, or a larger number if 
desired. 

The drill may be given as a " Red, White, and Blue 
Drill," as a " Dance of the Frost Maidens," or as a 
** Springtime Dance." 

If given as a ** Red, White, and Blue Drill " the cos- 
tume may be ^vhite cheese-cloth, with round neck and 
short flowing sleeves. White stockings, and shoes. 
Scarfs of the national colors. Hair flowing, or tied 
with ribbons of the colors. 

For the " Dance of the Frost Maidens " the same 
white costumes, but without shoes. Hair flowing. 
Garlands sixty inches long, of heavy Christmas tree 
tinsel. Band of tinsel in the hair, and dress decorated 
with touches of the same. 

For the " Springtime Dance " use green or white 
ribbon or strip of cheese-cloth for the garland, and 
decorate hair and dress with flowers. 



STAGE 



For the " Red, White, and Blue Drill " use a stage 
with a simple background of white or green. Do not 

3 



4 THE RED, WHITE, AND BLUE DRILL 

overdecorate with the national colors, as to do so will 
spoil the effect of the colors carried by performers. 
Or, the stage may be set with palms, etc., to furnish a 
background. 

For " The Dance of the Frost Maidens " the stage 
should be set to represent or suggest a winter forest 
scene. A spring-like forest scene will be appropriate 
for the " Springtime Dance," or a green curtain may 
be used. 

The use of changing colored lights adds greatly to 
the effect for any form of the drill. 



STEPS 

The following steps are used: 
Run, four short, dainty steps to a measure. 
Walk, two steps to a measure. 
Polka, three steps and a hop to a measure, the 
right and the left foot alternatingly lead- 
ing, thus: 

I 234 12 

Right — left — right — hop ; left — right — 

3 4 

left — hop, etc. 
Glide, long sliding step to side, two steps to a 
measure. 



MUSIC 



"Le Secret," by Leonard Gautier. 

Number the measures, beginning with the third, call- 
ing it one, as the first two are merely introductory. 

Play through to end of measure 136; then repeat 
from measure 105, substituting the last two notes of 
measure 104 for the last two notes of measure 136. 



^HE RED, WHITE, AND BLUE DRILL 5 

Increase the length ut the rests in measure 140. 

The different numbers of the drill begin respectively 
on the measures indicated below. It may be a help to 
mark the number of the movement above the measure 
on which it begins. 



Movement. Measure, Movement Measure. 



I beg 


ins I 


X begins 89 


II 


17 


XI - 97 


III 


' 33 


XII, XVI " 105 


IV 


41 


XIII, XVII " 113 


V 


49 


xiv,xvm" 121 


VI, VII 


' 65 


XIX " 129 


VIII 


' n 


XX " 137 


IX 


* 81 





THE DRILL 

I 

(Sixteen measures.) 

Run in from side or rear of stage in single file, and 
around stage in a circle. The leader of the line must 
time her steps so as to fall in directly behind the last 
one who enters, thus completing the circle. Scarfs * 
held, looped, above heads, faces lifted. 

All stop short on third beat of eighth measure, turn 
quickly on fourth beat, and continue running in the 
circle, the direction being now reversed. 

Stop short on third beat of sixteenth measure. Odd 
numbers face out, even numbers face in, on fourth 
beat. 

* Or garlands, according to the title of the drill. 



6 THE RED, WHITE, AND BLUE DRILL 

II 

(Sixteen measures.) 

Scarfs at shoulders. Odd numbers stand still in 
place, weight on right foot, left foot pointed in front 
of right. Even numbers take polka step (one measure) 
back of and just past the performer on the right; then 
polka step again (one measure) in front of and just 
past the next one in the circle. 

All raise scarfs above heads and turn around in 
place with eight tiny, springy steps on the tips of the 
toes, even numbers turning to right, odd numbers to 
left. Even numbers continue thus around the circle, 
until they reach their original places. End by stepping 
in front of and facing the odd number at the right. 

The polka steps must be very long and free. 

When turning in place, all performers must be care- 
ful to keep within a very limited space, not more than 
ten inches square, otherwise the form of the figure 
will be lost. 

When all are turning in place, the relative position 
of the performers is as indicated in Diagram i. Small 
circles indicate odd numbers ; crosses, even numbers. 




X 

Diagram i. 



In Diagram 2, the small circles represent the odd 



THE RED, WHITE, AND BLUE DRILL 7 

numbers, who remain in place, and the dotted lines the 
paths of the even numbers as they dance around. 




Ill 

(Eight measures.) 

Even numbers are now facing odd numbers. All 
hold scarfs with left hand at shoulder, right hand 
raised obliquely forward. 

Slide obliquely forward on right foot (first beat of 
measure) ; bring left foot up behind right (second 
beat) ; rise on toes (third beat) ; sink (fourth beat) , 
step obliquely back on left foot (first beat); bring 
right foot back in front of left (second beat) ; rise on 
toes (third beat); sink (fourth beat). 

Polka for two measures, starting with right foot, 
passing partner and turning to face, thus exchanging 
places. Repeat, ending in original positions. 

IV 

(Eight measures.) 
All face audience, and, holding scarfs at shoulders 



8 THE RED, WHITE, AND BLUE DRILL 

and using polka step, dance to positions indicated in 
Diagram 3. 

C 1 2 3 4 

B 1 2 3 4 

A 1 2 3 4 
Diagram 3. 

Eight measures is allowed for this, and the per- 
formers dance forward, backward, or to the side as 
may be necessary in order to reach positions. No 
formal regularity is necessary, except that the rhythm 
must be kept throughout, and those who get to position 
first must continue dancing in place until all are in 
position. All come to rest on third beat of eighth 
measure. 

Suppose that the preceding movement ends with the 
dancers in this position: 

X 




X 

Diagram 4. 

The back row may be formed by 5, 6, 7, and 8 ; the 
middle row, by 3, 4, 9, and 10; the front row, by i, 2, 
II, and 12. 

Red, white, and blue scarfs being used, the colors 
should be distributed thus : 

C (Red) 4 1 7 10 

B (White) 2 5 8 11 

A (Blue) 3 6 9 12 



THE RED, WHITE, AND BLUE DRILL 9 

In carrying out the movements described below each 
performer must know just what point she is to reach, 
and there must be no crowding. 

From this point, all numbers refer to those indicated 
in Diagram 3. 



{Sixteen measures.) 

Right hand raised obHquely forward, left at shoul- 
der, poise forward on right foot, on first beat, left foot 
extended back in opposition, face lifted. Hold pose 
to end of second measure. 

Scarf held above head in both hands, turn completely 
around in place, to left, with eight tiny steps on the 
tiptoes, the first of which will be taken with the left 
foot. This occupies two measures. 

Poise forward on left foot, right hand at shoulder, 
left hand raised, right foot extended back in opposition. 
Hold pose two measures. 

Turn completely around in place, to right, with 
eight tiny steps, right foot leading. 

Repeat the whole movement. 

VI 

{Eight measures.) 

Hands at waist, i and 2 in each row glide four long, 
vigorous steps to left, and 2 and 4 glide four steps to 
right, I and 2 passing in front of 3 and 4. Positions 
are now reversed, thus: 

C 3 4 1 2 

B 3 4 1 2 

A 3 4 1 2 

Diagram 5. 

I and 2 face each other, as do also 3 and 4, and 
using the polka step twice (two measures) pass each 
other, thus exchanging places, and face audience. 
Positions will now be as shown in Diagram 6. 



10 THE RED, WHITE, AND BLUE DRILL 

C 4 3 2 1 

B 4 3 2 1 

A 4 3 2 1 

Diagram 6. 

Repeat both movements, ending with all perfonners 
in original positions (Diagram 3). 

VII 

(Eight measures.) 

A 2 and 3, C 2 and 3, and B i and 4, stand still, with 
scarfs held by extreme ends at shoulders. 

Partners, using polka step, dance in front of them 
and then around behind them, throwing scarfs over 
the heads of those who are standing still. (See Dia- 
gram 7.) Pose, the one at back looking over partner's 

A< 3' Q. ^.^ 

B(/ i 3 4) 



Diagram 7. 



shoulder and into her face. The dancing to position 
will require four measures, and the pose is sustained 
for two measures. During the pose, A i and C i each 
transfer one end of scarf to 2's left hand, and take the 
other end of 2's scarf in right hand. This change 
must be made as inconspicuqusly as possible, while 
the hands of A i and C i are resting lightly on the 
shoulders of 2. The other couples make a similar 



THE RED, WHITE, AND BLUE DRILL II 

transfer; but note that when the change is made A i, 
C I, and B 3 have an end of each scarf in right hand ; 
A 4, B 2, and C 4 have the ends in the left hand. 

A I and 4, C i and 4, and B 2 and 3, now dance 
backward to original positions and kneel, holding their 
ends of the scarfs above head, and facing audience. 
(Two measures.) 

VIII 

{Eight measures.) 

Partners, holding other ends of scarfs, dance around 
the kneeling ones and back to place (polka step, four 
measures). On the third beat of the fourth measure, 
the kneeling ones rise, and on the first beat of the next 
measure, their partners kneel, and the others dance 
around them (four measures) . 

At close, recover scarfs and stand in original posi- 
tions, except that row A now faces row B. Scarfs 
at shoulders. 

IX 

{Eight measures.) 

Those in row A, passing to the right of those in the 
other rows, run towards rear of stage with eight tiny 
steps. At the same time those in rows B and C walk 
forward four steps. This will bring row A to the rear, 
row C to the middle, and row B in front (two meas- 
ures). Raising scarfs above head, all turn in place 
with eight steps (two measures). 

I and 2 in each row, and 3 and 4 in each row face 
each other, join right hands, and using polka steps 
twice (two measures), make a half turn, ending with 
each in partner's place; then, without pause, release 
right hands, join left hands, and turn back to original 
places (two measures). 

X 

Same as V, without the repeat (eight measures). 



12 THE RED, WHITE, AND BLUE DRILL 

XI 

( Eight measures. ) 

Front row kneel, holding scarfs horizontal and 
straight, in front of chest. 

C I steps back of and to the right of B i (who is 
kneeling). 

At the same time, A i steps back of and to the left 
of B I (two measures). The three form a triangle 
with their scarfs, and hold pose (four measures). 
The same thing is done by the others simultaneously. 
Front row rise, and all retuiTi to former positions (two 
measures). 

XII 

{Eight measures,) 
Same as VI. 

XIII 

{Eight measures,) 

Row B facing row C, repeat IX. This will bring 
row C to the front, row B to the rear. 



Same as VII. 



XIV 

{Eight measures,) 

XV 

{Eight measures,) 
Same as VIII. 

XVI 

{Eight measures.) 

Same as IX. All will then be in original positions 
shown in Diagram 3. 



THE RED, WHITE, AND BLUE DRILL 1 3 

XVII 

(Eight measures.) 

2 in each row hands one end of her scarf to 3, and 
receives one end of 3's scarf. They then raise their 
arms as high as possible, stretching the scarfs hori- 
zontally to form an arch. This must be done quickly, 
and at the same instant the others turn, facing rear 
of stage. They then, using polka step, dance under 
the arch from the rear, in the following order: C i, 
C 4, B I, B 4, A I, A 4. The I's turn to right, the 
4's turn to left. 

As soon as A 4 has passed under the scarfs held by 
C 2 and 3, the latter lower arms, recover scarfs, and 
follow. B 2 and 3 and A 2 and 3 do the same, follow- 
ing their respective leaders, who should move in the 
arc of a large circle, dancing towards the sides of the 
stage after tney have passed under the arch. The two 
leaders should so time their steps that they meet face 
to face at the rear of the stage at the third beat of the 
eighth measure, when all stop. When the arch is dis- 
solved, the positions should be approximately as indi- 
cated in Diagram 8. The form of the circle can be 
perfected during the next movement. 



,''' 


CI 


04 "-v^ 


/Bl 




B4 \^ 


/A, 

\C2 




A4 \ 

1 


*■ 


C3/ 


\ 82 


^A2 


B3 / 




Diagram 8. 



14 THE RED, WHITE, AND BLUE DRILL 

On last beat of eighth measure, B 4 turns to face 
A 4, C 3 faces B 3, A 3 and A 2 face each other, C 2 
turns to face B 2, and B i turns to face A i. 



XVIII 
(Eight measures.) 

Each dances around the circle in the direction in 
which she is now facing, passing those whom she 
meets at her right side (touching right hands in pass- 
ing) and her left side (touching left hands in passing), 
alternately. Use polka step, two measures being re- 
quired for passing each new vis-a-vis. The steps will 
be short, and the path of each dancer should be a 
series of graceful curves. If, as often happens, some 
one has a tendency to get ahead of the others and spoil 
the regularity of the figure, it is an indication that she 
is dancing too straight ahead, instead of in a serpentine 
course. 

Continue this for eight measures, stopping on the 
third beat. Every other one turns completely around 
on the fourth beat. All are now in a circle facing in 
the same direction. 

XIX 

{Eight measures.) 

Run around in large circle, on tiptoe, scarf above 
head, face lifted. 

[Note. If preferred, XVIII may be continued 
throughout twelve measures (which will bring each 
performer back to the place jn the circle from which 
she started), and four measures, only, given to XIX.] 

XX 

{Five measures.) 

Without losing a beat, break circle at middle of 
front, all face towards center of stage, and those on 
each wing run backward until large semi-circle is 



THE RED, WHITE, AND BLUE DRILL I5 

formed. Of course those who are nearest the point 
where the circle is broken will have to move farther 
than the others, but the rhythmic movement must be 
kept up by all, even though they are simply stepping 
in place. 

All stop on the first chord of fourth measure. On 
the second chord, the ones next the audience at the 
ends of the semi-circle, and every other one towards 
the rear, step forward, facing audience; on the last 
chord, these kneel, scarfs above heads. At the same 
time the two at the center rear raise hand towards 
partner until the hands touch and raise the other hand 
to shoulder next to partner, the scarfs thus being 
gracefully looped between them. The same is done 
by the other couples who are standing. Hold pose as 
the curtain falls. The final positions are shown in 
Diagram 9. 



9 (^ 



Ix 



X ! 



4' 



Diagram 9. 



As an alternative ending change the music to " The 
Star Spangled Banner," and wave scarfs in time to the 
music, coming back to the pose and holding it a few 
moments before the curtain falls. 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have' 
planned a birthday surprise party for Mary Brinkley, recently! 
graduated from college. They all join in jolly games, songs,* 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. Price, 15 cents» 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. Price, 15 cents. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter-^ 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. Price, 25 cents. 

BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten^ females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 
PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt. Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort, Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



/ LIBRARY OF CONGRESS 

T h e P o I 11^ III Ir ^ ^ * ^ " 

Expression and 014 212 1037* 

The power of clear and forceful expression brings confi- 
dence and poise at all times — in private gatherings, in public 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sur^ 
of himself. 

The power of expression leads to: 

The ability to think "on your feet" 

Successful public speaking 

Effective recitals 

The mastery over other minds 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

17 14 De Lancey Street Philadelphia 



LIBRftRY OF CONGRESS 




014 212 103 7 



